Editors – Filmmaker Magazinehttp://filmmakermagazine.com
Publication with a focus on independent film, offering articles, links, and resources.Fri, 09 Dec 2016 17:07:44 +0000en-UShourly1https://wordpress.org/?v=4.6.1How to Assemble a Rough Cut Two Days After Shooting Wraps: Editor Phillip J. Bartell on Miss You Alreadyhttp://filmmakermagazine.com/97461-how-to-assemble-a-rough-cut-two-days-after-shooting-wraps-editor-phillip-j-bartell-on-miss-you-already/
http://filmmakermagazine.com/97461-how-to-assemble-a-rough-cut-two-days-after-shooting-wraps-editor-phillip-j-bartell-on-miss-you-already/#commentsTue, 23 Feb 2016 15:36:09 +0000http://filmmakermagazine.com/?p=97461Catherine Hardwicke’s razor-sharp blend of comedy and tragedy, Miss You Already, arrives on Blu-ray, DVD, and a variety of VOD platforms March 1. The story of best friends (played by Drew Barrymore and Toni Collette) struggling to deal with the fact that one of them has terminal cancer, it’s a film that walks a tonal tightrope: silly, devastating, sexy, angering, and bittersweet, the movie’s diverse range of effects is a testament to Hardwicke, her actors, and an ambitious script by Morwenna Banks. Pulling all of the elements together is editor Phillip J. Bartell, whose superb work on 2014’s Dear White […]]]>http://filmmakermagazine.com/97461-how-to-assemble-a-rough-cut-two-days-after-shooting-wraps-editor-phillip-j-bartell-on-miss-you-already/feed/1“Looking for False Performance Beats”: Editor Fred Raskin on The Hateful Eighthttp://filmmakermagazine.com/96749-looking-for-false-performance-beats-editor-fred-raskin-on-the-hateful-eight/
http://filmmakermagazine.com/96749-looking-for-false-performance-beats-editor-fred-raskin-on-the-hateful-eight/#commentsMon, 28 Dec 2015 19:23:08 +0000http://filmmakermagazine.com/?p=96749As the first film to be shot in the Ultra Panavision 70 format since Khartoum in 1966, Quentin Tarantino’s The Hateful Eight has deservedly garnered a lot of attention for its cinematography; shot in an extra-wide aspect ratio on a 65mm negative, it’s undeniably a spectacular showcase for director of photography Robert Richardson’s visual gifts. Subtler, but perhaps even more impressive, is the contribution of editor Fred Raskin, who assembles the 2.76:1 images like a maestro of space, timing, and movement. At over three hours in its Christmas Day “roadshow” edition, The Hateful Eight doesn’t have an extraneous frame – […]]]>http://filmmakermagazine.com/96749-looking-for-false-performance-beats-editor-fred-raskin-on-the-hateful-eight/feed/3“As Far as I’m Concerned, We Are Making the Movie Version”: Sam Esmail on Mr. Robothttp://filmmakermagazine.com/96474-as-far-as-im-concerned-we-are-making-the-movie-version-sam-esmail-on-mr-robot/
http://filmmakermagazine.com/96474-as-far-as-im-concerned-we-are-making-the-movie-version-sam-esmail-on-mr-robot/#respondTue, 24 Nov 2015 18:09:06 +0000http://filmmakermagazine.com/?p=96474It remains unclear at what point this century cyberpunk — a science-fiction subgenre that emerged largely from the pens of William Gibson and Philip K. Dick — leapt from the realm of speculative to historical fiction; everywhere one looks, it seems that moment has arrived. Many (if not most) westerners live connected to a cyberpunk meta-narrative of their own making these days. We can all be certain, in the era of Edward Snowden, that our digital lives are being recorded. A dystopian view of computing and information technology’s potential, along with a skeptical eye toward vision of “technological as social progress” that corporate propagandists hurl […]]]>http://filmmakermagazine.com/96474-as-far-as-im-concerned-we-are-making-the-movie-version-sam-esmail-on-mr-robot/feed/0“30 Years Ago I’d Put Together a Scene with Scratches and Splices Jumping”: Editor David Rosenbloom on Black Masshttp://filmmakermagazine.com/95850-30-years-ago-id-put-together-a-scene-with-scratches-and-splices-jumping-editor-david-rosenbloom-on-black-mass/
http://filmmakermagazine.com/95850-30-years-ago-id-put-together-a-scene-with-scratches-and-splices-jumping-editor-david-rosenbloom-on-black-mass/#respondTue, 29 Sep 2015 14:20:25 +0000http://filmmakermagazine.com/?p=95850David Rosenbloom calls them “movie moments,” those ephemeral slivers of magic discovered amongst the voluminous footage he sifts through in his role as an editor. They can be as small as a glance or as large as a cackle from Whitey Bulger. The latter can be found in Black Mass, Rosenbloom’s second collaboration with director Scott Cooper following 2013’s Out of the Furnace. The film traces the true story of Irish gangster Bulger’s thirty-year reign in Boston, abetted by his role as an FBI informant. Rosenbloom talked to Filmmaker about his start as an editor, his software of choice for […]]]>http://filmmakermagazine.com/95850-30-years-ago-id-put-together-a-scene-with-scratches-and-splices-jumping-editor-david-rosenbloom-on-black-mass/feed/0How To Complete Post-Production Quickly to Meet a Festival Deadline: The Making of Joe Begos’ The Mind’s Eyehttp://filmmakermagazine.com/95629-how-to-complete-post-production-quickly-to-meet-a-festival-deadline-the-making-of-joe-begos-the-minds-eye/
http://filmmakermagazine.com/95629-how-to-complete-post-production-quickly-to-meet-a-festival-deadline-the-making-of-joe-begos-the-minds-eye/#respondThu, 17 Sep 2015 21:46:57 +0000http://filmmakermagazine.com/?p=95629In order to make the submission deadline for the Toronto International Film Festival, writer/director Joe Begos and producer/editor Josh Ethier had a locked cut of The Mind’s Eye seven weeks into the editing; the effort paid off as the psychokinetic thriller is getting a World Premiere as part of Midnight Madness programme. The cinematic tale features Zack Connors (Graham Skipper) attempting to use his special abilities to prevent the mysterious Dr. Slovak from descending into a psychic rage. “Joe is a visual director who shoots and operates on his own films,” explains Ethier, who has collaborated with Begos ever since […]]]>http://filmmakermagazine.com/95629-how-to-complete-post-production-quickly-to-meet-a-festival-deadline-the-making-of-joe-begos-the-minds-eye/feed/0One Brick at a Time: the Post-Production of A LEGO Brickumentaryhttp://filmmakermagazine.com/95110-one-brick-at-a-time-the-post-production-of-a-lego-brickumentary/
http://filmmakermagazine.com/95110-one-brick-at-a-time-the-post-production-of-a-lego-brickumentary/#commentsFri, 31 Jul 2015 15:00:24 +0000http://filmmakermagazine.com/?p=95110A LEGO Brickumentary, a documentary that looks at the culture and appeal of the LEGO building block, opens July 31. Like many historical documentaries, this project involved working with a wide range of archival footage, but it also made use of footage shot with a wide range of modern cameras — in one case, all shooting the same event. Co-producer and post-production supervisor Chad Herschberger of Milkhaus talked to us about the work they did on this documentary and the ins and out of post-production work, including animating faces on LEGO bricks, moving media between Avid Media Composer and DaVinci […]]]>http://filmmakermagazine.com/95110-one-brick-at-a-time-the-post-production-of-a-lego-brickumentary/feed/1Anagram Creators May Abdalla and Amy Rose on Door into the Darkhttp://filmmakermagazine.com/94150-anagram-creators-may-abdalla-and-amy-rose-on-door-into-the-dark/
http://filmmakermagazine.com/94150-anagram-creators-may-abdalla-and-amy-rose-on-door-into-the-dark/#respondMon, 04 May 2015 14:00:17 +0000http://filmmakermagazine.com/?p=94150The best work I saw at this year’s Tribeca Film Festival wasn’t a film at all. It was, instead, a lovely piece of conceptual counterprogramming in Tribeca’s Storyscapes section, Door into the Dark. An immersive theater piece by May Abdalla and Amy Rose of the U.K.-based company Anagram, Door into the Dark wasn’t positioned by curator Ingrid Kopp against the films in the festival. Rather, by including Door into the Dark within a program largely dominated by Oculus Rift VR work, Kopp used Door in the Dark‘s simply generated yet expansive mindscapes as a way of setting a high bar […]]]>http://filmmakermagazine.com/94150-anagram-creators-may-abdalla-and-amy-rose-on-door-into-the-dark/feed/0Dealing with Archival Footage: Making The Prime Ministershttp://filmmakermagazine.com/92927-dealing-with-archival-footage-making-the-prime-ministers/
http://filmmakermagazine.com/92927-dealing-with-archival-footage-making-the-prime-ministers/#respondWed, 04 Feb 2015 16:54:12 +0000http://filmmakermagazine.com/?p=92927Documentary films often rely extensively on archival film, and dealing with different archive sources and the variety of formats involved can become a significant headache. For The Prime Ministers: Soldiers and Peacemakers, co-producer and editor Nimrod Erez had to deal with hundreds of sources and dozens of video formats. As editor and co-producer, Erez ran the post-production department, overseeing the additional editors brought in to work on the picture and seeing the movie through grading and final picture. The film will be released this year and is the second and final part to follow The Prime Ministers: The Pioneers, which was released in 2013. The […]]]>http://filmmakermagazine.com/92927-dealing-with-archival-footage-making-the-prime-ministers/feed/0“Finish Your Scene Before You Go to Lunch”: Five Questions for After the Fall Director Saar Kleinhttp://filmmakermagazine.com/88674-finish-your-scene-before-you-go-to-lunch-five-questions-for-after-the-fall-director-saar-klein/
http://filmmakermagazine.com/88674-finish-your-scene-before-you-go-to-lunch-five-questions-for-after-the-fall-director-saar-klein/#commentsFri, 12 Dec 2014 20:50:09 +0000http://filmmakermagazine.com/?p=88674First-time director Saar Klein got his start in Hollywood as an editor, where he’s been working with top directors for the past two decades. He has two Academy Award nominations under his belt, for Terrence Malick’s The Thin Red Line and Cameron Crowe’s Almost Famous. His feature debut After the Fall joins the strong lineup of this year’s recession-era dramas. Wes Bentley plays a mediocre insurance appraisal agent who loses his job after being too generous with payouts. He turns to a life of crime in order to make payments on his house and keep his family above water. Becoming a petty […]]]>http://filmmakermagazine.com/88674-finish-your-scene-before-you-go-to-lunch-five-questions-for-after-the-fall-director-saar-klein/feed/1Editing Boyhood: Dealing with Changing Technologyhttp://filmmakermagazine.com/88632-editing-boyhood-dealing-with-changing-technology/
http://filmmakermagazine.com/88632-editing-boyhood-dealing-with-changing-technology/#commentsWed, 10 Dec 2014 16:47:30 +0000http://filmmakermagazine.com/?p=88632The filming of Boyhood, shot over 12 years, posed some unexpected challenges in post-production. At a recent meeting of the Boston Creative Pro Users Group, First Assistant Editor Mike Saenz explained the difficulties of the editing process, made more complicated by changes in technology that occurred over that 12-year period. Begun as what Saenz called “an indie side project” by director Richard Linklater, Boyhood was originally edited using Final Cut 3, as they couldn’t afford to rent an Avid system for 12 years. A couple of years into the project, they switched to Avid Xpress, a lower-end system from Avid. They […]]]>http://filmmakermagazine.com/88632-editing-boyhood-dealing-with-changing-technology/feed/2Lessons from the Cutting Edge Tourhttp://filmmakermagazine.com/87675-lessons-from-the-cutting-edge-tour/
http://filmmakermagazine.com/87675-lessons-from-the-cutting-edge-tour/#respondFri, 26 Sep 2014 13:00:09 +0000http://filmmakermagazine.com/?p=87675I spent a half-day at Adam Epstein’s “The Cutting Edge Post-Production Tour” last week. Epstein, who is the editor for the Saturday Night Live Film Unit, has spent the past month and a half traveling the country presenting on how to be a better editor. Unfortunately for me, I couldn’t stay the whole day. Unfortunately for you, the tour ended this week, so you’ve missed it too. If you can come away from an event like this with an actual tip or technique that you start using and with one piece of inspiration to improve how you work, that actually […]]]>http://filmmakermagazine.com/87675-lessons-from-the-cutting-edge-tour/feed/0“This is Softcore”: The History of Radley Metzgerhttp://filmmakermagazine.com/87041-this-is-softcore-the-history-of-radley-metzger/
http://filmmakermagazine.com/87041-this-is-softcore-the-history-of-radley-metzger/#commentsThu, 07 Aug 2014 14:00:42 +0000http://filmmakermagazine.com/?p=87041Opening today, August 7, at the Film Society of Lincoln Center is This is Softcore: The Art Cinema Erotica of Radley Metzger, a survey of the director whose arty erotica more or less defined what in the ’70s was dubbed “porno chic.” On the occasion of this retrospective we are reposting, from our archives, this wide-ranging 1997 interview conducted by Steve Gallagher. Among the topics: Metzger’s days creating edited versions of European arthouse masterworks; the origins of his glamorous soft-core aesthetic; distribution in the ’60s and ’70s’ his hardcore work, including The Opening of Misty Beethoven, done under the name […]]]>http://filmmakermagazine.com/87041-this-is-softcore-the-history-of-radley-metzger/feed/1Adam Epstein Talks Editing for SNL and “The Cutting Edge” Workshophttp://filmmakermagazine.com/86950-adam-epstein-talks-editing-for-snl-and-the-cutting-edge-workshop/
http://filmmakermagazine.com/86950-adam-epstein-talks-editing-for-snl-and-the-cutting-edge-workshop/#commentsWed, 30 Jul 2014 19:30:12 +0000http://filmmakermagazine.com/?p=86950Adam Epstein is a freelance editor. For the last five years, he’s worked with the Saturday Night Live film unit, editing parody pieces of all kinds. He’s just begun a nationwide workshop tour with “The Cutting Edge Post-Production Tour,” a day-long seminar covering techniques, theories and editing insights. We recently spoke to Epstein about editing, working on SNL and the workshop tour. Filmmaker: How did you become an editor? Epstein: In my experience, it’s never a direct path. I started out in school, working on a student-run sketch comedy show, and we were able to get our hands on some of the […]]]>http://filmmakermagazine.com/86950-adam-epstein-talks-editing-for-snl-and-the-cutting-edge-workshop/feed/2Sympathy, Said the Shark: Shooting in POVhttp://filmmakermagazine.com/86801-sympathy-said-the-shark-shooting-in-pov/
http://filmmakermagazine.com/86801-sympathy-said-the-shark-shooting-in-pov/#commentsMon, 21 Jul 2014 14:56:39 +0000http://filmmakermagazine.com/?p=86801Writer, director and editor Devin Lawrence says that when he set out to make Sympathy, Said the Shark he’d already gone through two projects which had stalled out due to lack of financing, so he decided he had to come up with something where “money can no longer be the ultimate road block.” The resulting project was shot in 14 days and primarily in one location, but it was by no means a simple project to make as much of it was shot using a POV rig built around the Blackmagic Pocket Camera. Lawrence, who works in LA primarily as […]]]>http://filmmakermagazine.com/86801-sympathy-said-the-shark-shooting-in-pov/feed/1A Round-Up of the Last Non-Linear Editor Updateshttp://filmmakermagazine.com/86587-non-linear-editor-updates-galore/
http://filmmakermagazine.com/86587-non-linear-editor-updates-galore/#commentsThu, 10 Jul 2014 15:17:39 +0000http://filmmakermagazine.com/?p=86587June proved to be a rich month for non-linear editor users. Adobe released their latest Creative Cloud update, Apple updated Final Cut Pro X, Motion, and Compressor, the public beta of DaVinci Resolve 11 was released, and the Mac beta of Lightworks finally appeared. Adobe Creative Cloud On June 17 Adobe released the second major update to Creative Cloud. For Premiere Pro this release adds a new masking feature for effects. You can now easily add an effect mask either using an Oval or a four-point polygon tool. A built-in tracking tool makes it possible to track a shape […]]]>http://filmmakermagazine.com/86587-non-linear-editor-updates-galore/feed/7The New Ultra-Wide LG 34UM95 Monitor Is A Gamechanger for Sound and Video Editors (Sponsored)http://filmmakermagazine.com/86233-the-new-ultra-wide-lg-34um95-monitor-is-a-gamechanger-for-sound-and-video-editors/
http://filmmakermagazine.com/86233-the-new-ultra-wide-lg-34um95-monitor-is-a-gamechanger-for-sound-and-video-editors/#commentsWed, 04 Jun 2014 18:00:18 +0000http://filmmakermagazine.com/?p=86233The following is a sponsored editorial post from LG. For video and sound editors, getting enough screen space to get work done efficiently has long been a problem. Even with two 16:9 monitors running off one CPU, there’s still bezel barriers to contend with, and your working space quickly grows cramped, slowing down workflow as you struggle to make all your programs fit. Now there’s a solution: the LG 34UM95, an ultra-wide 21:9 monitor with 3440×1440 Quad HD resolution. Sound mixers can now see all their tracks in a wide, uninterrupted linear sequence, with the high resolution eliminating time wasted […]]]>http://filmmakermagazine.com/86233-the-new-ultra-wide-lg-34um95-monitor-is-a-gamechanger-for-sound-and-video-editors/feed/6IFFBoston: How Do You Interview Subjects?http://filmmakermagazine.com/85703-iffboston-how-do-you-interview-subjects/
http://filmmakermagazine.com/85703-iffboston-how-do-you-interview-subjects/#respondFri, 02 May 2014 16:02:29 +0000http://filmmakermagazine.com/?p=85703At this year’s Independent Film Festival Boston, the panel “The Art of Documentary Film Editing: Case Studies” featured moderator Jim Hession, editor of Rich Hill, Lucia Small, director and editor of One Cut, One Life and Bryan Storkel, editor of Fight Church. An audience member asked the panel how they interviewed people and whether they prepped them beforehand, adding “Whenever I interview people, they’re always really bad talking to the camera.” Storkel: I try and do as little prep as possible. I try to show up and just start talking and get to know them on camera. I’ll have my questions […]]]>http://filmmakermagazine.com/85703-iffboston-how-do-you-interview-subjects/feed/0Red Giant updates Magic Bullet Looks & PluralEyeshttp://filmmakermagazine.com/85200-red-giant-updates-magic-bullet-looks-pluraleyes/
http://filmmakermagazine.com/85200-red-giant-updates-magic-bullet-looks-pluraleyes/#commentsMon, 31 Mar 2014 15:00:10 +0000http://filmmakermagazine.com/?p=85200Red Giant has today announced updates to two of their filmmaking software tools. Magic Bullet Looks has become popular with filmmakers who want to do a quick color grade for a project but don’t have the time – or the skill – to use a tool like DaVinci Resolve. This update adds several features, but perhaps of most interest to those who already have the tool is the promise of speed increases of up to 95% on Windows, and 25% on Macs. According to Red Giant, this release was entirely rewritten on their new development platform Universe, which provides GPU accelerated […]]]>http://filmmakermagazine.com/85200-red-giant-updates-magic-bullet-looks-pluraleyes/feed/3Reimagining an ID: Sound & Visionhttp://filmmakermagazine.com/85052-reimagining-an-id-sound-vision/
http://filmmakermagazine.com/85052-reimagining-an-id-sound-vision/#respondThu, 20 Mar 2014 17:00:02 +0000http://filmmakermagazine.com/?p=85052Television stations – like distribution and production companies – can have a lot invested in their IDs. They represent the brand in the mind of the consumer. In 1972, WGBH created a station ID with a logo sting by Gershon Kingsley. That sound has become closely associated with WGBH, and they’ve made several updated IDs using that original Moog synthesizer sound through the years. Paul Sanni, an editor for the Creative Services department and the Masterpiece series at WGBH has twice worked on revisions of the ID. Sanni has a background in audio and video and for the latest version […]]]>http://filmmakermagazine.com/85052-reimagining-an-id-sound-vision/feed/0Red Giant’s New Effects Library and Community – Universehttp://filmmakermagazine.com/84930-red-giants-new-effects-library-and-community-universe/
http://filmmakermagazine.com/84930-red-giants-new-effects-library-and-community-universe/#respondWed, 12 Mar 2014 16:32:04 +0000http://filmmakermagazine.com/?p=84930Visual effects software developer Red Giant today announced the public beta of Red Giant Universe, a new environment for building as well as distributing filter and transition effects. The effects and transitions are GPU-accelerated, work on both Mac and Windows, and support After Effects, Premiere Pro, Final Cut Pro X and Motion. Red Giant says they are releasing 50 new free and premium tools as part of Universe, but prior to release did not specify how many of them are free. Universe’s Premium option provides access to more tools as well as existing Red Giant tools that will be ported […]]]>http://filmmakermagazine.com/84930-red-giants-new-effects-library-and-community-universe/feed/0